Kirk Honeycutt
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For 987 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Kirk Honeycutt's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Dark Knight
Lowest review score: 0 Your Highness
Score distribution:
  1. Negative: 91 out of 987
987 movie reviews
    • 30 Metascore
    • 30 Kirk Honeycutt
    The scariest thing about this film is how desperate the makers are to earn a scream.
    • 31 Metascore
    • 30 Kirk Honeycutt
    A bland, formulaic picture where romance and comedy are noticeably absent. A more wooden and uninspired effort from talented people behind and in front of the camera is difficult to imagine.
    • 27 Metascore
    • 30 Kirk Honeycutt
    This thoroughly repetitive, ill-conceived and poorly executed effort -- with an emphasis on the word "effort" -- defeats these two talented people more often than not.
    • 34 Metascore
    • 30 Kirk Honeycutt
    A laugh-starved comedy that seeks to plug into the comic stylings of Mo'Nique for its energy and humor.
    • 43 Metascore
    • 30 Kirk Honeycutt
    Muddled and uninteresting.
    • 27 Metascore
    • 30 Kirk Honeycutt
    Runs 96 minutes but feels like so much more. There is only one gag.
    • 31 Metascore
    • 30 Kirk Honeycutt
    A lackluster affair, devoid of laughs and just about anything else one might construe as entertainment.
    • 30 Metascore
    • 30 Kirk Honeycutt
    A bottomless pit of lame characters, horror-film cliches and improbable monsters.
    • 28 Metascore
    • 30 Kirk Honeycutt
    Dirty Deeds is as feeble as a teen comedy can get.
    • 39 Metascore
    • 30 Kirk Honeycutt
    Has little to say to moviegoers. Goldberg's direction is all flash and no substance, and his story and characters offer little reason for viewers to empathize with such self-pitying characters.
    • 47 Metascore
    • 30 Kirk Honeycutt
    Just lousy.
    • 45 Metascore
    • 30 Kirk Honeycutt
    Fails to exploit the myriad comedic possibilities, settling instead for broad, unconvincing slapstick aimed at 12-year-olds and gags Shakespeare would have rejected as ancient.
    • 36 Metascore
    • 30 Kirk Honeycutt
    The writing is rudimentary and the direction often awkward, but Mo'Nique would confound a veteran director.
    • 26 Metascore
    • 30 Kirk Honeycutt
    Zoom is a movie that would make Dr. Frankenstein proud. Put together with parts from so many other movies, the thing positively clanks.
    • 46 Metascore
    • 30 Kirk Honeycutt
    Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.
    • 55 Metascore
    • 30 Kirk Honeycutt
    The movie strands you in two miserable flats with these cliche-ridden characters and a static love story that is as predictable as it is pedestrian.
    • 67 Metascore
    • 30 Kirk Honeycutt
    Pretentious to the core and lacking any context or credible characterizations.
    • 62 Metascore
    • 30 Kirk Honeycutt
    Longing makes you long for a good movie. Tedious and long-winded even at 90 minutes, this German film, written and directed by Valeska Grisebach, tells a mundane tale of adultery that lacks even the slightest insight.
    • 35 Metascore
    • 30 Kirk Honeycutt
    All the while, the music screams and clamors like an ignored child because director Xavier Gens and writer Skip Woods can't pump suspense into this inept mess.
    • 25 Metascore
    • 30 Kirk Honeycutt
    The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
    • 36 Metascore
    • 30 Kirk Honeycutt
    Only Diaz shows spark because the actress knows how to simultaneously play nice and be a nasty character, thereby gaining audience sympathy. Everyone else hits one note, and it isn't nice.
    • 24 Metascore
    • 30 Kirk Honeycutt
    Not only does the film stumble badly from one skit to another, the skits themselves have too much dead air.
    • 51 Metascore
    • 30 Kirk Honeycutt
    One of the unfunniest comedies ever. Punch lines are lifeless. Characters are borderline catatonic. Running gags can't even walk.
    • 37 Metascore
    • 30 Kirk Honeycutt
    Odd too, for a film that wants to correct impression anyone had as to the abilities of black U.S. soldier in combat, are the ethnic cliches about Italians and Germans, to say nothing of rednecks.
    • 31 Metascore
    • 30 Kirk Honeycutt
    A banal revenge melodrama-cum-detective story, but fans of the video game on which it is based should not be alarmed.
    • 58 Metascore
    • 30 Kirk Honeycutt
    Splinter is a bad idea, borrowing body parts, as it were, from old horror flicks to genuinely unsatisfying results.
    • 41 Metascore
    • 30 Kirk Honeycutt
    Bad enough to create one of the most joyless Christmas movies ever, but then to go for an unearned feel-good ending adds insult to injury.
    • 17 Metascore
    • 30 Kirk Honeycutt
    The film might amuse some, especially fans of Alfred Hitchcock, but is likely to annoy almost everyone else.
    • 30 Metascore
    • 30 Kirk Honeycutt
    What finally undoes the struggle to maintain suspense is Goyer's dialogue, which is consistently hokey.
    • 41 Metascore
    • 30 Kirk Honeycutt
    Director Alex Proyas resolutely thinks in B-movie terms. Even with an A-list budget, he oversells every plot point and gooses the thrills with hokey lighting, bombastic music and serious overacting.
    • 38 Metascore
    • 30 Kirk Honeycutt
    We can be grateful to a stellar cast and some discipline on the part of Matt Aselton, a commercials director making his feature debut, that Gigantic doesn't go completely overboard. Nevertheless, the film will appeal mostly to festivals and adventurous audiences.
    • 32 Metascore
    • 30 Kirk Honeycutt
    Lame sketch comedy, an uninspired performance from Will Ferrell and an overall failure of the imagination turn Brad Silberling's Land of the Lost into a lethargic meander through a wilderness of misfiring gags.
    • 36 Metascore
    • 30 Kirk Honeycutt
    For those wearied by cliches about poverty, rote characterizations of minorities and shocks for their own sake, best to avoid "Cracktown."
    • 30 Metascore
    • 30 Kirk Honeycutt
    The new gimmick here is that all the flying body parts and absurd impalements come in 3D. And that's about as inspired as anything gets in this edition. Story and character get chucked to the sidelines as the arena has room for only death scenes.
    • 33 Metascore
    • 30 Kirk Honeycutt
    This remake turns a fondly remembered horror/thriller into a mild and tedious suspense film.
    • 19 Metascore
    • 30 Kirk Honeycutt
    Insipid, predictable, broad comedy mixed with Disney Family Values makes for one exasperating sit.
    • 17 Metascore
    • 30 Kirk Honeycutt
    A viewer is challenged to guess what the filmmakers thought they were doing. A 1930s screwball comedy with a modern sensibility? A misguided valentine to those who march to the beat of a different drummer?
    • 46 Metascore
    • 30 Kirk Honeycutt
    The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.
    • 19 Metascore
    • 30 Kirk Honeycutt
    Over-the-top -- and ultimately tiresome -- female mud-wrestling, kick-boxing and cat fights in a parody of old exploitation movies.
    • 35 Metascore
    • 30 Kirk Honeycutt
    Simply weird. The funny has gone missing.
    • 37 Metascore
    • 30 Kirk Honeycutt
    Paper Man is a bad idea, and the film, despite a few brave and good performances, never recovers from awkwardness of its premise.
    • 57 Metascore
    • 30 Kirk Honeycutt
    Well, that didn't take long. Everything fun and terrific about "Iron Man," a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines.
    • 47 Metascore
    • 30 Kirk Honeycutt
    The film seems nearly writer-free. Absolutely no time gets wasted on story, character development or logic.
    • 20 Metascore
    • 30 Kirk Honeycutt
    Even during the climax, the film still is struggling to introduce the world of the film and its strange rules.
    • 37 Metascore
    • 30 Kirk Honeycutt
    The film doesn't just fail, it actually gets sillier by the minute.
    • 50 Metascore
    • 30 Kirk Honeycutt
    No one on the creative side has his eyes on the characters, so they flounder in a sea of misguided energy.
    • 28 Metascore
    • 30 Kirk Honeycutt
    Has no inherent laughs, so an extremely versatile and talented cast struggles mightily to make something funny that simply isn't.
    • 50 Metascore
    • 30 Kirk Honeycutt
    (Perry) style is too crude and stagy for Shange's transformative evocation of black female life, and his moralizing strikes exactly the wrong notes to express the pain and longing that cries out from her heated poetry.
    • 45 Metascore
    • 30 Kirk Honeycutt
    Feste, who has one previous effort as a writer-director, last year's "The Greatest," fails here to do the most basic thing -- give an audience a rooting interest, or any interest at all, in these four troubled people.
    • 40 Metascore
    • 30 Kirk Honeycutt
    Rarely do films from Hollywood emerge in such an inane manner. Its rote characters are inevitably in predictable situations with no subtext or subtlety to any of their predicaments.
    • 57 Metascore
    • 30 Kirk Honeycutt
    The lameness of the gags and dialogue and the film's frequent deep dives for the bottom at the expense of real comedy speak to desperation in Hollywood to figure out the audience for contemporary naughty comedy.
    • 41 Metascore
    • 30 Kirk Honeycutt
    Nothing is bleaker than failed black comedy, which this is.
    • 36 Metascore
    • 30 Kirk Honeycutt
    There is no purpose to the film other than random blood splattering amid scenes of bondage, primitive savagery and S&M eroticism. The film is numbing and dumb with its hero indistinguishable from its villains.
    • 56 Metascore
    • 30 Kirk Honeycutt
    This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.
    • 35 Metascore
    • 20 Kirk Honeycutt
    The direction is as flat as the script is thin, forcing actors to stumble through roles that make little sense. Costumes and sets border on the grotesque. Mehta is a fine enough filmmaker that this one can be written off as an aberration. Sometimes East and West really aren't meant to meet.
    • 18 Metascore
    • 20 Kirk Honeycutt
    The film lacks a controlling point of view to guide an audience through so improbable a tale. Nothing in the movie is funny -- aside from giggles provoked by misfired jokes -- or romantic or dramatic.
    • 37 Metascore
    • 20 Kirk Honeycutt
    It's discouraging to witness a filmmaker who clearly yearns for the indie world yield to the temptations of mindless movie manufacturing. At least Figgis made it as soulless as possible.
    • 38 Metascore
    • 20 Kirk Honeycutt
    Alas, this is just film ugly.
    • 30 Metascore
    • 20 Kirk Honeycutt
    A complete wipeout.
    • 28 Metascore
    • 20 Kirk Honeycutt
    How can a director as savvy as Lee make so many errors of judgment regarding taste, tone, intention and dramatic structure?
    • 31 Metascore
    • 20 Kirk Honeycutt
    A deeply dispiriting movie, not just because it is grindingly bad but because Jane Fonda actually chose this for her comeback after a 15-year absence from the screen. But it's worse than that. Fonda, one of the best actors of her generation, is downright awful in a role she could have -- and probably should have -- sleepwalked through.
    • 24 Metascore
    • 20 Kirk Honeycutt
    A gloriously lead-footed excursion into time travel with all the accoutrements of 1950s science fiction: an absurd plot, cliched characters, corny effects and a race against time to save mankind.
    • 31 Metascore
    • 20 Kirk Honeycutt
    The movie, which opened last week in Seattle and opens Friday in Los Angeles, isn't so much getting a release as an escape. The movie is directed, shot, acted and outfitted with special effects -- such as that guy (Michael Deak) in the monster suit -- so as to make American International horror films of the late '50s and '60s look like sophisticated gems.
    • 28 Metascore
    • 20 Kirk Honeycutt
    The sheer nastiness of the jealous one-upmanship and angry sabotage puts a damper on the yuletide comedy. You're much better off watching a DVD of "Bad Santa."
    • 23 Metascore
    • 20 Kirk Honeycutt
    The claustrophobic and poorly executed Caffeine is either a play in search of a movie or a movie in search of a play but, either way, it's searching for the wrong thing. What it desperately needs are laughs.
    • 25 Metascore
    • 20 Kirk Honeycutt
    Working from a flawed premise with characters lacking credibility and plot turns more moronic than funny, the movie flatlines in about five minutes.
    • 24 Metascore
    • 20 Kirk Honeycutt
    A lame comic idea poorly executed dooms Sex and Death 101 to failure.
    • 47 Metascore
    • 20 Kirk Honeycutt
    Paints a surprisingly sour portrait of nearly all its characters, so much so that even the final-reel redemption rings hollow and forced.
    • 56 Metascore
    • 20 Kirk Honeycutt
    Snyder and writers David Hayter and Alex Tse never find a reason for those unfamiliar with the graphic novel to care about any of this nonsense. And it is nonsense.
    • 30 Metascore
    • 20 Kirk Honeycutt
    It is truly a mess.
    • 24 Metascore
    • 20 Kirk Honeycutt
    Never gets off its high-concept stool long enough to explore what makes weddings so exciting and nerve-racking and treacherous. It flounders instead in juvenilia and bitchiness.
    • 19 Metascore
    • 20 Kirk Honeycutt
    The Swedish video and commercial director seeks artistic adventure but winds up with pointless self-indulgence.
    • 47 Metascore
    • 20 Kirk Honeycutt
    A cloyingly sentimental story that rings false in every moment.
    • 51 Metascore
    • 20 Kirk Honeycutt
    Going the Distance is, in a way, a remarkable film: It's hard to imagine any romantic comedy going wrong in so many different ways.
    • 36 Metascore
    • 20 Kirk Honeycutt
    In the end, it isn't so much that the New Arthur isn't the Old Arthur. Rather it's the anti-Arthur.
    • 40 Metascore
    • 20 Kirk Honeycutt
    One can reflect on what the young Coppola, with his masterful camera work and vivid imagination, might have done with such an opportunity. Unfortunately, the present-day one produces only tepid and tired imagery that would not earn high marks in any film school.
    • 32 Metascore
    • 10 Kirk Honeycutt
    The film doesn't know what it wants to be -- reality programming pushed to the max or a satire of reality TV? -- but it winds up as an exercise in the rankest sort of cynicism.
    • 51 Metascore
    • 10 Kirk Honeycutt
    In his second feature as a director, Gallo acts as writer, director, producer, star, cinematographer, production designer and editor. Thus, the failure is all his.
    • 19 Metascore
    • 10 Kirk Honeycutt
    A lame comic premise, a tiresome-bordering-on-obnoxious protagonist and a script devoid of humor is a lot to overcome for any movie, and Surviving Christmas is not the one to do it.
    • 26 Metascore
    • 10 Kirk Honeycutt
    A muddled and routine murder mystery tricked up with a science fiction gimmick that wouldn't pass muster for a "Twilight Zone" episode. The writing is poor, but the direction is even poorer. This is a film to delete from one's memory bank.
    • 7 Metascore
    • 10 Kirk Honeycutt
    Here's the deal: The worst sex cartoon in Playboy's long history can't compete with the sheer vacuousness of this inane comedy.
    • 25 Metascore
    • 10 Kirk Honeycutt
    Without Antonio Banderas, The Big Bang would be a whimper of a movie, too awful to watch.
    • 31 Metascore
    • 0 Kirk Honeycutt
    There is little worse in the movie world than a spoof that falls flat on its over-costumed butt, but that's what you get with Your Highness.

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